internships – Dezeenhttps://www.dezeen.com
architecture and design magazineSat, 10 Dec 2016 00:00:00 +0000en-UShourly1https://wordpress.org/?v=4.6.1Julius Breitenstein creates Unpaid Intern device to aid designershttps://www.dezeen.com/2016/07/18/unpaid-intern-julius-breitenstein-central-saint-martins-graduate-device-aid-designers/
https://www.dezeen.com/2016/07/18/unpaid-intern-julius-breitenstein-central-saint-martins-graduate-device-aid-designers/#commentsMon, 18 Jul 2016 05:00:23 +0000http://admin.dezeen.com/?p=934825Graduate shows 2016: Central Saint Martins graduate Julius Breitenstein has created a device that performs the activities an intern would usually do in a design office. The Unpaid Intern uses algorithms to create multiple iterations of a design, taking over a job that would usually be done by a human. The system has been created to help

The Unpaid Intern uses algorithms to create multiple iterations of a design, taking over a job that would usually be done by a human.

The system has been created to help design studios produce ideas faster, combating the pressures many face with short turnaround times and small teams.

The Unpaid Intern has a "collaborative controller" that connects to CAD software and allows teams to interact with the programme directly.

Breitenstein created the device with an open interface, designed to be used from various directions and by more than one person at a time – so teams don't have to crowd round a laptop.

The CAD user interface proposed by Breitenstein is less "soviet" in its design than traditional software. The simplistic design language is intended to "inspire creative thought" without diminishing the functionality

Dials on the device give designers control over the shapes being produced, allowing them to create multiple subtle variations on everything from the smoothness of the surface to how angular the final design is.

"The output shapes can inspire the designer to a multitude of shapes and design directions that they might never have thought of, opening their eyes to new paths and opportunities," Breitenstein told Dezeen.

"On top of this the algorithm is able to facilitate better communication between designer and client, as it can create approximated design directions, which can then be discussed and altered until an understanding of what each party wants is achieved," he added.

Algorithms are frequently used in design, although usually as a way of creating a final product, rather than an ideation tool.

Two rows of dials are colour-coded to reference the colours of the CAD software on screen. A larger dial is used to navigate through the interface

"I want to use genetic algorithms in a way where the designer reflects and analyses the outputs of the algorithms, and then uses what they have learned to iterate and develop on their design," said Breitenstein.

"I think the point of this project is not to take over the roles of people at all, it is there to enable people to make more and better designs," he added.

]]>https://www.dezeen.com/2016/07/18/unpaid-intern-julius-breitenstein-central-saint-martins-graduate-device-aid-designers/feed/6Young people "can't afford to work for free" says Intern magazine founderhttps://www.dezeen.com/2013/07/19/alec-dudson-interview-intern-magazine/
https://www.dezeen.com/2013/07/19/alec-dudson-interview-intern-magazine/#commentsFri, 19 Jul 2013 12:23:11 +0000http://admin.dezeen.com/?p=336824News: the founder of a new magazine celebrating the work of interns in the creative industry has spoken of the dangers of creating a culture on unpaid labour (+ interview + slideshow). "We would welcome a move away from unpaid positions," said Alec Dudson, who is trying to raise money on Kickstarter to launch Intern

]]>News: the founder of a new magazine celebrating the work of interns in the creative industry has spoken of the dangers of creating a culture on unpaid labour (+ interview + slideshow).

"We would welcome a move away from unpaid positions," said Alec Dudson, who is trying to raise money on Kickstarter to launch Intern magazine in the UK. "The danger across all industries is that a culture is fostered whereby young talent thinks nothing of unpaid work and puts up with arrangements that are far from beneficial," says Dudson.

Intern magazine aims to showcase work from talented creatives currently interning in the creative industry, and raise debate on the culture of internships. Manchester-based Dudson told Dezeen: "Our intention is to empower interns through the publication."

Dudson founded the magazine after a two-month paid internship with Domus in Milan and voluntary work with Boat magazine in London. "I gained a lot from my internships, but I had to sacrifice a lot in order to do them," he said.

Intern magazine has launched a funding campaign on Kickstarter this month, which runs until Wednesday 7 August 2013. If the fundraising is successful, issue one will go on sale in October 2013. Here's the campaign video:

Here's the full interview with Dudson:

Kate Andrews: Why did you decide to start Intern magazine?

Alec Dudson: I set out on my first internship in the magazine industry last March with Domus in Milan. After two months there, moved to London and worked for the remainder of the year with Boat. Realising after what were two wonderful, yet financially tough, experiences that I was no closer to my dream position with a magazine, I started to explore the possibilities of setting up my own. Inspired by my own relatively brief time in the world of internships and the experiences of others I had met, it struck me that the ideal subject for such an endeavour was right before my eyes.

I knew from my time at Boat how slender the opportunities to make a profit off print publications were, so any project I did set out on was going to need to undertaken by me alone, wherever possible. Fortunately, Chris, one of the freelance designers at Boat during my stint there, was just setting up design studio She Was Only with a couple of friends and they were prepared to take on the project's design and art direction. Without them, I would have struggled to get the idea off the ground.

Kate Andrews: Were your internships with Domus and Boat magazine paid or unpaid?

Alec Dudson: At Domus I was paid €400 a month, which just about covered my rent when I was out there. Boat was not but I approached them and was fully aware of the situation before I started.

Kate Andrews: When does the first issue come out?

Alec Dudson: Our Kickstarter campaign runs until August 7th. Should we successfully raise the £5500 or more, I hope to have issue one on sale in September or October at the latest. While a portion of our content is already down and good to go, my helpless desire for perfection and the difficulties in rounding up final drafts of all the articles will inevitably cause some delays. But I firmly intend for the magazine to be very much worth the wait. Anyone backing us to the tune of £1 or more will be kept in the loop regarding the issue's progress allowing our backers to come with us on the journey towards our launch.

Kate Andrews: What will be in the first issue?

Alec Dudson: The first issue will feature a selection of work by interns from around the world alongside a balanced debate that also see contributions from those established in the creative industries.

Kate Andrews: What are your thoughts about internships, particularly unpaid internships, in the creative industries?

Alec Dudson: I don't necessarily feel that the creative industries are any better or worse than other industries with regard to how they treat and value unpaid and junior talent, but I do feel that they make a fascinating case study.

The danger across all industries is that a culture is fostered whereby young talent thinks nothing of working unpaid and puts up with arrangements that are far from beneficial. I personally feel I gained a lot from my internships but I had to sacrifice a lot in order to work them, still I am luckier than most as I was in a position where I could make the situation work. A great deal of people simply can't afford to work for free and by creating situations where only those who can afford are granted access to the industries, you engender a scenario where the pool of talent being picked from is already very selective. Surely this is a morally perplexing scenario for the creative industries as creativity isn't something only people of a certain social class have or can articulate?

Kate Andrews: What advice would you give to graduates hoping to enter the creative industries?

Alec Dudson: My advice to new talent would be to have the confidence to value yourself and your time. If you end up working unpaid for a studio or company whose work you adore, yet you aren't given the sort of hands on experience that you desire, or aren't made to feel an important part of the team, don't be afraid to walk away. Doing so in a civil manner won't stop you being able to list them on your CV and get a reference.

The best internships out there are those where trust is placed in the intern and they are allowed a degree of creative freedom and involvement in the day-to-day. It might not seem like it, but there are some great places out there that provide these sort of experiences, they pay as well. Confidence in your ability and the confidence to communicate that ability are key in breaking into the creative industries.

Kate Andrews: Do you think unpaid work is okay or not?

Alec Dudson: I think there remain situations where it can be beneficial. I certainly wouldn't have had the confidence or the know-how to approach [this project] if it had not been from my time with Boat magazine. Ideally, of course, all positions would be paid. But I think if those contemplating internships have a better idea of what to expect and what isn't acceptable when it comes to free work, then a lot of the exploitative unpaid positions can be eradicated.

Kate Andrews: Are internships a good thing?

Alec Dudson: Again, in their purest form, absolutely. A good internship is one where the transaction - in a non-monetary sense - is enriching for both parties. By treating interns as a valuable resource and a part of the team, employers can get far more than an eager worker in return. From the intern's perspective, someone who values their contribution and trusts them, offering guidance where needed can be of great value going forward. Of course these experiences are always subjective but there are too many instances where the arrangement offers little for the intern that little or no monetary compensation can justify.

Kate Andrews: Will Intern magazine be taking on interns? Will they be paid?

Alec Dudson: We won't be taking on interns. We will be sourcing contributions from interns and unpaid workers in the creative industries and paying them for their contribution. The reality is that this won't be a full professional rate, but as a new publication and one with a model for steady sustainable growth, we will pay as much as we can. It is the hope that as the magazine grows, sooner rather than later, those payments will reflect a professional rate.

Kate Andrews: What stance will the magazine take on unpaid internships?

Alec Dudson: Our position can't be overly vitriolic as it would undermine our ability to host a debate of any worth. However, it is clear enough from our stance on paying our contributors that we would welcome a move away from unpaid positions. Internships can be a positive thing to do. We will feature stories from those who we believe provide excellent internships but will not waste our time bad-mouthing those who don't. A key means of enriching the intern experience for all concerned is providing the tools - in terms of advice and tales of others' experience - that enable those applying for internships to be more discerning and that is one of the magazine's main intentions.

Alec Dudson: The RIBA's stance [in calling for people to report unpaid internships in the UK] is an important attempt to clean house of the UK architecture industry. The debate may not have much footing in Japan at the moment but it will be interesting to see if that remains the case going forward. If the interns are highly involved in model building and, with that, real projects, then I imagine it can be a really great experience for them, particularly with a firm with huge international status.

Where it gets morally perplexing is that realistically, few can afford to work for three to six months unpaid for 12 hours a day, 5 days a week. If this is during studies or with a scholarship in place then I imagine it is easier but it is those who have the talent yet are financially restricted from getting that experience that we should be worrying about and that the debate needs driving forward for.

Alec Dudson: Unpaid positions can, in circumstances that satisfy the intern's needs, be useful experiences for those trying to break into the industry and I think that is what he is suggesting. But it is a bit disappointing that a prominent figure associated with a foundation like D&AD is encouraging graduates to specifically seek out unpaid work.

]]>https://www.dezeen.com/2013/07/19/alec-dudson-interview-intern-magazine/feed/8Unpaid work is not "acceptable on any level" says Dick Powellhttps://www.dezeen.com/2013/07/18/unpaid-work-is-not-acceptable-on-any-level-says-dick-powell/
https://www.dezeen.com/2013/07/18/unpaid-work-is-not-acceptable-on-any-level-says-dick-powell/#commentsThu, 18 Jul 2013 11:38:30 +0000http://admin.dezeen.com/?p=336391News: D&AD chairman Dick Powell has moved to defuse the controversy over a speech advising young people to "work for nothing" in order to get a job in the creative industries. In a letter to Dezeen, Powell states that "there are no circumstances where working unpaid in any capacity is acceptable on any level" and adds:

News: D&AD chairman Dick Powell has moved to defuse the controversy over a speech advising young people to "work for nothing" in order to get a job in the creative industries. In a letter to Dezeen, Powell states that "there are no circumstances where working unpaid in any capacity is acceptable on any level" and adds: "I apologise to your readers who may wrongly have a different impression".

Yesterday's article provoked a furious backlash from Dezeen readers, who posted over 100 comments and expressed their anger on social media.

"I'm grateful to Dezeen for this opportunity to clarify a number of points which have understandably caused a great deal of concern and anger," Powell writes in the letter, which we publish in full at the bottom of this story. "It was certainly not my to intention to infer working for free... I should have made it clear that I was referring to student internships and NOT graduates."

Powell, who is also co-founder and CEO of leading industrial design studio Seymourpowell, gave a speech at the opening of graduate show New Designers Part Two earlier this month in which he said: "Offer anything, do anything, call in every contact you have, get on LinkedIn and let it take you everywhere, work for nothing, make tea, carry bags, and learn, learn, learn."

Your article does not reflect my views, nor those of D&AD and I'd like to put the record straight, so I'm grateful to Dezeen for this opportunity to clarify a number of points which have understandably caused a great deal of concern and anger.

Sadly, these days, it is harder than ever for graduates to find work; the jobs don't come to them - many don't realise that their graduation is the start of a lengthy, often soul destroying process that is as much work as work itself. The message of my five minute speech [see transcript here] was intended to fire up and inspire them to that process . . . a process during which the learning doesn't stop. And the hardest part of that process is to stand out from the crowd and get yourself in front of the right people.

It was certainly not my to intention to infer working for free, more an attempt to impress upon them that they should stop at nothing to 'crack open the door' (buried among a longer list of wilder ideas to emphasise the message). As I wrote these words, and afterwards in conversation with Dezeen, I should have made it clear that I was referring to student internships and NOT graduates.

The question of internships is, rightly, a matter of hot debate. To my mind, a student internship is part of a student's education and, just as important, it's one of the best ways to get yourself in front of the right people and crack open the door to a future job (several of SP's younger designers first came to us as student interns). Internships are a quid pro quo arrangement - agencies get to meet and experience talent, and maybe short circuit the employment process, while students build valuable experience, continue to learn and can showcase their talent . . . but being part of a student's education is no excuse for not paying interns. Indeed, at Seymourpowell we pay all our student interns. But unconscionably, not every agency or design company concurs with this moral position.

In my view, and in D&AD's view, there are no circumstances where working unpaid in any capacity is acceptable on any level! I apologise to your readers who may wrongly have a different impression as a result of your article.

]]>https://www.dezeen.com/2013/07/18/unpaid-work-is-not-acceptable-on-any-level-says-dick-powell/feed/56Graduates should "work for nothing" says D&AD chairmanhttps://www.dezeen.com/2013/07/17/graduates-should-work-for-nothing-says-d-and-ad-chairman/
https://www.dezeen.com/2013/07/17/graduates-should-work-for-nothing-says-d-and-ad-chairman/#commentsWed, 17 Jul 2013 12:28:29 +0000http://admin.dezeen.com/?p=335911News: young people wanting to start a career in design should offer to work for free, according to Dick Powell, chairman of design charity D&AD. "Offer anything, do anything," said Powell. "Work for nothing, make tea, carry bags, and learn, learn, learn." Powell, who is also co-founder and CEO of leading industrial design studio Seymourpowell, made

Powell, who is also co-founder and CEO of leading industrial design studio Seymourpowell, made the comments in a speech to graduates at the New Designers exhibition in London earlier this month.

"Your goal may be to get a job, but your first task is to crack open the door," he told the audience attending the preview of New Designers Part 2. "And you should stop at nothing to achieve that. Be prepared to do anything, anything at all to get into a business."

He continued: "Offer anything, do anything, call in every contact you have, get on LinkedIn and let it take you everywhere, work for nothing, make tea, carry bags, and learn, learn, learn."

Speaking to Dezeen after his speech, Powell said that doing an unpaid internship is "the easiest way to get a job".

"You've got to invest [in yourself]," he said. "It depends on the industry. In advertising it's normal - you don't get paid. Other businesses will pay for lunch, travel, that kind of thing."

Seymourpowell pays its interns, he said, but felt that the company would be able to help more young designers if it offered unpaid internships instead. "We always try to pay a basic wage but it would clearly be better for them if we took on six that are unpaid than two that are paid, but we choose to pay them."

D&AD is a British charity working to promote and inspire best practice in design and advertising.

The organisation have launched a guide to getting into the industry, called The Creative Notebook. "People wanting to get internships should get a copy of that," said Powell. "It's full of advice on how to get internships." The guide is free for D&AD student and graduate members.

Photograph by James Champion.

Here's the full speech Dick Powell gave at New Designers:

When I graduated from the RCA, I had an unshakable, cast iron, rock-solid self-belief that I could make a difference; that I could make things better. Better for People. Better for Business. And Better too for the World. That I could make things Better by Design.

And while much has changed since, I still have that rock-solid self-belief ... making things Better by Design remains my credo, my rallying cry, my philosophy.

That rock-solid self-belief was born from a combination of arrogance, ambition, passion and naivety, but there was something else too. Something which I believe, irrespective of the field of creative endeavour or the design discipline, characterises outstanding creativity and innovation. I had no fear of failure... because I had nothing to lose - no mortgage, no big costs, no family to support and, unlike most of you, no big debts. I could not have been any poorer.

And today, all of you are at the same point in your life - graduating from education and out into the real world of our creative industries, with little to lose and the prospect of a career in the Creative Industries, which are hugely important to the UK, financially, practically and culturally.

So here are 6 tips for breaking into those industries:

1. Design is fabulously rewarding. We do it because we love it. We do it because we can make a difference. And the chance to work at something you love is so much more important than just working for money. If you are motivated by the need to make money, you’re in the wrong business! If you are talented, ambitious and prepared to work hard, to go beyond expectations, you will have a rewarding and satisfying career - and money will follow.

2. Never stop learning! Your courses have been very focused around a single discipline, but our industries need designers with bandwidth: a hunger for a wide view of the world and a deep understanding of people, markets, business and technologies from which they can build a point of view. Today, you’re probably thinking you’re done with education! Wrong! For those of you who will ultimately succeed, the learning starts today!

3. Your goal may be to get a job, but your first task is to crack open the door... and you should stop at nothing to achieve that . Be prepared to do anything, anything at all to get into a business. Offer anything, do anything, call in every contact you have, get on LinkedIn and let it take you everywhere, work for nothing, make tea, carry bags and learn, learn, learn.

4. Be really really good at one thing. Be a star at one thing. Be an expert at one thing. Your courses have had to focus on equipping you as best they can to be a great all rounder - research, creativity, execution, trends, markets, and equipped with extensive knowledge of design and its practise. But that makes you all more the same than different, so it’s hard to stand out. But every business needs dedicated skills of different kinds - skills with tools, like Alias or Pro-Engineer, or skills at drawing, research, film editing, animating, budgeting, selling or whatever. Being a star at one thing can get you in, maybe not in the role you want, but at least you will be in and learning - after that, it’s up to you.

5. Scale your ambition. Of course, you’d like to work for Apple - we all would!. Don’t abandon that ambition. Just be prepared to spend time building experience and making yourself useful in a thousand ways to small companies of any kind or discipline. Which brings me around to where I started...

6. Fear of failure. In business, as in life, failure is part of learning. Every failure, every rejection letter is a process of learning and improving. And the best way to scrape yourself off the floor and get your head into the right place is to never stop designing. The golfer, Gary Player, was accosted by a journalist having just won a tournament. The journalist observed that he had been a bit lucky with one or two shots. Player responded “You know what? The more I practice, the luckier I seem to get!”. The more you use your skills, the better you become. The graduate who is out of college a year and is still hawking round the same college portfolio is doomed ... For every opening you have, ahead of every interview, ahead of every letter you write or phone call you make - discipline yourself to use every second to fill your portfolio with fresh thinking, and new ideas which are tightly focused and highly relevant to the person or business you want to see. Find out what they do and do some of that. That way, you’ll pique their interest and you’ll develop the informed point of view they want to hear.

And finally, this week at New Designers is a major opportunity to make those first valuable contacts and build a network which might one day lead to a job. That’s what all this is about. Today, you join that network, an embryonic designer with a future. Welcome to our world!

]]>https://www.dezeen.com/2013/07/17/graduates-should-work-for-nothing-says-d-and-ad-chairman/feed/188Unpaid architecture internships in Japan are a "nice opportunity" says Sou Fujimotohttps://www.dezeen.com/2013/06/05/unpaid-architecture-internships-in-japan-are-a-nice-opportunity/
https://www.dezeen.com/2013/06/05/unpaid-architecture-internships-in-japan-are-a-nice-opportunity/#commentsWed, 05 Jun 2013 10:46:43 +0000http://admin.dezeen.com/?p=322877News: Sou Fujimoto, the architect of this year's Serpentine Pavilion, has defended the Japanese practice of hiring unpaid "open desk" interns, describing the system as a "nice opportunity" for both the employer and intern. Speaking to Dezeen at the press preview of the pavilion yesterday, the head of Sou Fujimoto Architects said: "In Japan we

News: Sou Fujimoto, the architect of this year's Serpentine Pavilion, has defended the Japanese practice of hiring unpaid "open desk" interns, describing the system as a "nice opportunity" for both the employer and intern.

Speaking to Dezeen at the press preview of the pavilion yesterday, the head of Sou Fujimoto Architects said: "In Japan we have a long history of interns and usually the students work for free for several periods. It’s a nice opportunity for both of us: [for the employer] to know younger generations and for them to know how architects in Japan or different countries are working."

He added: "For my office there are many, many interns – especially from abroad."

"All staff must be paid if they are working for a RIBA chartered practice," Brady told Dezeen. "If they do not do this, the practice will be struck off the chartered practice list." Brady said this had happened in a handful of cases, but could not give figures.

She added: "I think it is exploitation to take staff who are doing productive work in your office and not pay them a fair wage".

In Japan we don’t yet discuss whether unpaid internships are good or bad

In Japan however, there is a widespread tradition of "open desk" working, where students and graduates typically spend between three and six months working without pay to gain experience. Architecture firms regularly use "open desk" workers to build models and prepare drawings.

"They get scholarships by themselves and they come to my office and spend from three months to six months sometimes," said Fujimoto, who is based in Tokyo. "The interns are making beautiful models and sometimes if it is a long period, for example six months, they can join more deeply in the project. They are really helpful and they are really powerful."

He added that the debate about the ethics of taking on unpaid workers had yet to surface in Japan. "In Japan we don’t yet have much discussion as to whether it is good or bad. I understand that there is such a discussion surrounding working for free and whether it is good or bad, so I’d like to see how the whole discussion is going along."

Internships with high-profile Japanese architects are popular with international students and graduates, who are not offered any financial help with travel or accommodation and are expected to make their own visa arrangements. They are expected to work the same long hours as paid staff, with the working day lasting from 10am to midnight in some offices.

Fujimoto added: "If you have to pay all the interns, then we’d definitely have to limit the number of the interns and we couldn’t provide such an opportunity for students or younger people to gain experience in [...] architecture."